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apparent to this thinking, appears as a contradiction, the so-called “non-iden-
tical”, and the aim of
Negative Dialectics consists in an asymptotical reflection
on this non-identical. A critique of experience, which is aware of the fact
that subject and object are socially and historical shaped, is supposed to rival
the congealed, reifiedway of thinking that is “identity thinking”. Adorno also
mentions a certain “metaphysical experience” which transcends the existing
by not fitting into it or rather, by revealing that what exists could potentially
be different. Metaphysical experience is another form of mediated immedi-
acy, tied back to mystical experience: While Jewish and Christian mystics set-
tled their visions to topics from holy writings, modern agnosticism forces to
treat “profane texts as if they were sacred”. After Auschwitz, it has become
impossible to claim any form of higher or hidden meaning in history, so the
philosopher must “cunningly” presuppose existing texts “as though they were
simply there and though they had authority” (
The Essay As Form).
Adorno
ascribes this so-called “Alexandrinism” or “interpreting contemplation” (“aus-
legende Versenkung”) to Benjamin and his allegedly kabbalistic inspiration.
This principle of interpretation is reflected in his own commentarial thinking,
the fragmentary character of his essays, or even the adaption of proverbs in
Minima Moralia. They claim no objective meaning but try to glimpse through
presupposed texts on reality.
Metaphysical experience, philosophy as secular exegesis, and the model of
tradition, are often mentioned in the lectures surrounding
Negative Dialectics,
and in the book itself. Adorno doesn’t shy away from mentioning the sup-
posed parallels to mysticism.
The Language of the Angels. It is however misleading to apply Adorno’s
commentarial “contemplation”
only to the exegesis of philosophical texts. In
fact his most precise description of “Alexandrinism” can be found in his essay
on
The Final Scene of Faust, and his prominent example for metaphysical expe-
rience is Marcel Proust’s writings. This is no “aestheticization” of philosophy
or of theology, as it has sometimes been claimed, but an epistemology which
incorporates the “language” of art, a language that can express more than
one could describe in the precise terminologies of “identity thinking”. There-
fore, Adorno calls music a “language of the angels” and a “demythologized
prayer”, he holds that its “idea is that of the divine name”, that is, not a lan-
guage of intentionality but one which “reveals” and “conceals” simultaneously
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Sacred Fragment). The idea of a “mystical name” is a concept that is not limited
to Adorno’s philosophy of music – quite the contrary –, but that is also men-
tioned in
Negative Dialectics, in the context of Adorno’s critique of conceptual
thinking: Names mark an individual but don’t predispose any attributes.
There are many additional remarks on the “angelic” character of music,
even of the Lurianic “Breaking of the Vessels” or “Gebura”, one of the
Sefirot, as interpretative approaches to specific pieces of art. Indeed, the vast
majority of Adorno’s mystical, kabbalistic or theological motifs, can be found
in his aesthetic and musicological writings. Even if everything that exists is
being produced, shaped and deformed by society, the totality is reflected in
works of art in a way that makes it recognizable.
To give an example, Adorno
sees an “inverse theology” at work in Kafka’s Œuvre: His writings show the
world like a photograph from the “standpoint of redemption” and reveal its
infernal character. In a sketch for Thomas Mann’s
Doktor Faustus, Adorno
writes on a certain “symphonic movement” as “the lament of God himself ”,
a God who cries with his creatures for “there is nothing new”, just the tautol-
ogy of a deformed world. At the same time, pieces of art try to foreshadow
another world, “near to Jewish descriptions of a messianic order as one that
would be just like the usual but different in the slightest degree” (
Aesthetic The-
ory). In this way, pieces of art reveal (late-)modern society’s negativity, while at
the same time pointing out the possibility of its being redeemed. Whenever
this possibility seems to appear the image darkens immediately (or rather, it
blinds the observer): Thus, art can only show the “other” in a negative way. In
this sense, Adorno once cites the image of the “grass angels” from the
Zohar,
“who are created for a moment just to perish in the sacred fire” (
Beethoven).
Adorno further ascribes mystical and kabbalistic thoughts to works of
Goethe, Beethoven, Mahler, Schönberg, or Rudolf Borchardt. A more exact
idea of how close he believed art and mysticism to be tied together, can be
gathered from the fact that he dedicated his text
Sacred Fragment to Scholem.
This essay is concerned with Schönberg’s opera
Moses und Aron and
includes
the cited idea of the divine name. Scholem affirmed the parallels between
the ban on images and the non-conceptual language of music, but strongly
opposed the idea of a hidden kabbalistic influence on Schönberg himself.
More than once, the historian and the philosopher disagreed in their respec-
tive perception of the essence of mysticism.